Editions of You: Remixes and Covers in K-pop

One of the most appealing things about K-pop is its variety. K-pop is not unique in producing different versions of the same song or having covers, but the differences in versions showcase the complexity of a music type often criticised for being cookie-cutter.

Seo Taiji, “로보트 (Robot)”

Seo Taiji

Seo Taiji is the godfather of K-pop, and so it should not be surprising that he takes the track “Robot” in two different directions. “Robot” originally appears on Seo Taiji’s 7th Issue (2004) album. This version’s thinly orchestrated intro begins with an odd guitar chord countered by mid-tempo drums. The song then transitions to a more regular rhythm and tonally resonate guitars, which complement Seo Taiji’s recognizeable vocals, all of which give the song a heavy feel. However, the guitars become less heavy in the first verse, complemented by a less vigorous rhythm section, where cymbals become more prominent. The song alternates between these two distinct sounds, always overlaid with Seo Taiji’s vocals.

However, when Seo Taiji performs the song live on [&] Seo Taiji 15th Anniversary (2007) album (originally appearing on the Seo Taiji Live Tour Zero ’04 album (2005), it has a completely different feel. Here, the intro features a softly strumming guitar barely audible over the hum of the crowd. After 30 seconds, a sole electric guitar comes in, along with Seo Taiji’s vocals, but these are not the vocals of the original song. Only after a full 40 seconds do guitars play the chords that signal the beginning of the original song. Even then, the song is significantly less heavy than the original.

Epik High, “Paris”

Epik High

Veteran hip-hop group Epik High is known for its use of intrumentation in its music, and “Paris” is no exeception. “Paris,” featuring Jisun of Loveholic, originally appears on the group’s 2005 album, Swan Songs. The intro featuring female vocals and a single guitar hearkens back to the musical stylings of the 1960s, and then transitions into a light-hearted rap by the group. This rap is complemented by Jisun’s vocals throughout the song.

However, “Paris” on the Black Swan Songs (2006) repackage is radically different. Jisun’s pop intro is replaced by the more forceful vocals of Epik High, against a more brooding instrumental backdrop. This intro is followed by thinly orchestrated verses, featuring driving rhythms with prominent drums and bass, the solo rap vocals and strategically placed distortions. As the track continues, the piano from the vocal is introduced against Jisun’s vocals. Overall, this version is more sonically powerful.

Brown Eyed Soul, “Love Ballad”

Brown Eyed Soul

This kind of musical variety can also occur in other K-pop genres. Brown Eyed Soul‘s “Love Ballad” single hearkens back to vocally-driven American ’90s R&B with synthesized instruments along with a soft organ and finger snaps over which the group alternate parts of the verse. At the chorus, they harmonize their voices in Boyz II Men style.

The piano version of “Love Ballad” invests even more heavily in the black male vocal group tradition. The intro is thinly orchestrated, with only finger snaps that echo on the track, broken only with the introduction of the voices of the group singing in unison. This arrangement showcases the vocal abilities of the members, both in the intro and throughout the song. During the rest of the song, the vocals are accompanied only by the piano and fingersnaps.

Girls’ Generation/Lyn, “The Boys”

Girls’ Generation, The Boys Concept

Lyn

Shifts in musical style on a track does not only occur with remixes. Covers also allow an opportunity for alternative arrangements, some of which go far afield of the original. For example, Girls’ Generation, known for their catchy songs, released “The Boys,” the title track from their 2011 album. The song begins with the members’ vocals against synthesized sounds, and then explodes into its heavily produced glory, driven by heavy rhythms and synthesizers.

However, Lyn takes the song in an entirely different direction in her acoustic performance. Featuring her lead vocals and vocals from backup singers, Lyn’s version infuses a bluesy feel with the minimal instrumentation provided by piano, bongos and an acoustic guitar.

These alternative versions of songs show that music is central to K-pop.